Harmensz van Rijn Rembrandt

Harmensz van Rijn Rembrandt

By Emile Michel
Michael Caine
Listen with Sir Michael Caine™ and 1,000+ voices
Length2h 14m

About this audiobook

Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence. It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public. From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or the Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.

Audiobook details

GenreOther
Length2 hrs 14 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish

Table of contents

1Harmensz van Rijn Harmensz van Rijn
2© Sirrocco, London, UK
3TABLE OF CONTENTS
4His Life
5Harmen Gerritszoon van Rijn lived in Leyden.
Show all chapters
6Rembrandt, his first Christian name. The young
7In later years, his spiritual nature and his artistic
8Surgeons, as a result of the Portrait, whose owner
9Gerard Dou, Ferdinand Bol and Govaert Flinck, all of
10The Night Watch, 1642. Rijksmuseum,Amsterdam.
11In the second half of the 17th century, Holland
12Although very different as to the dates when they
13As his final works show, the inner worlds of the
14The artist’s philosophy, his subjective vision of the
151697 during his first trip abroad. Yuri Kologrivov
161772 Falconet wrote to Catherine II: “I received
17Bucharest Museum. In 1769, after several years of
18Today, the Russian painter Kramskoy considers
191814, Alexander I bought the Empress Josephine’s
20Self-Portrait, 1669. Mauritshuis,The Hague.
21CHRIST DRIVING THE MONEYCHANGERS FROM THE TEMPLE
22PORTRAIT OF AN OLD MAN
23Rembrandt, freed from the influence of the
24THE ADORATION OF THE MAGI
25This authentic replica of The Adoration of the Magi
26PORTRAIT OF A BOY
27and
28YOUNG MAN WITH A LACE COLLAR
29National Gallery of Scotland in Edinburgh, are
30SASKIA IN ARCADIAN COSTUME
31Young Woman with a Wide Brimmed Hat and Crosier
32THE RISEN CHRIST SHOWING HIS WOUNDS TO THE APOSTLE THOMAS
33THE DESCENT FROM THE CROSS
34In a letter to Constantijn Huygens, secretary to the
35Provinces, Frederick-Henry of Nassau, Prince of
36THE ANGEL STOPPING ABRAHAM FROM SACRIFICING ISAAC TO GOD
37The Angel Stopping Abraham from Sacrificing Isaac to
38Rembrandt on the work of one of his students. The
39THE PARABLE OF THE LABOURERS IN THE VINEYARD
40This depiction of the parable of the labourers, in which
41by the arbitrary and the law of the strongest.
42BAARTJEN MAERTENS, WIFE OF HERMAN DOOMER
43DAVID AND JONATHAN
44Jonathan and David.
45AN OLD WOMAN IN AN ARMCHAIR
46The portrait of the Old Woman in an Armchair
47PORTRAIT OF AN OLD MAN
48Below: Drawing from the Portrait of Balthasar Castiglioneby Raphael. Albertina,Vienna.
49wistful gaze and the pained expression on his face
50THE HOLY FAMILY WITH ANGELS

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